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Ellis has for some time now been paint­ing large, sparse canvases that speak of nature through elongated dabs of vari­ous greens and browns laced over one another so that they move in space. The conformation is usually that of a reverse “C,” as if a willow branch dabbed with pigment had brushed against it. This moving element is contrasted against a static, usually upright and stick-like. These are played against a field of bare canvas. In this show nature is shoved over to the right and the left half of the painting is devoted to man-mades, which are symbolized by the harsh letters of posters. These letters, because of their color and scale, play Liston to nature’s Patterson.

Henry T. Hopkins

Francis Bacon, “Study for Portrait II,” 1956. Courtesy, Marlborough Gallery.
Francis Bacon, “Study for Portrait II,” 1956. Courtesy, Marlborough Gallery.
December 1962/January 1963
VOL. 1, NO. 7
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